BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Big Car - ECPv6.9.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://www.bigcar.org
X-WR-CALDESC:Events for Big Car
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Indiana/Indianapolis
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20230312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20231105T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231201
DTEND;VALUE=DATE:20240117
DTSTAMP:20260611T000532
CREATED:20231129T160227Z
LAST-MODIFIED:20231129T160407Z
UID:11504-1701399600-1705373999@www.bigcar.org
SUMMARY:Meggan Gould: Sorry\, No Pictures
DESCRIPTION:Meggan Gould’s Sorry\, No Pictures examines photographic tools and technologies and their constant teeter on the edge of obsolescence. Gould takes apart and re-contextualizes the smallest aspects of the medium\, including the iconography of camera dials\, the design of viewfinder patterns\, and the ubiquitous Epson inkjet printer test pattern. Intertwined with personal narrative\, the artist uses “playful resistance” in her work to question the role of corporations and manufacturers of photographic technologies — from Kodak to Flickr — in shaping photography\, image-making\, vision\, and the language surrounding the medium. The exhibition makes clear how the personal and political converge in art-making\, an important point at this moment when the true cost of photography’s cultural and ecological impact is coming into focus. \nThe complexity and sophistication of Gould’s work mirrors the maker\, who as a visual artist\, educator\, writer\, lecturer\, and mother has lived many lives all at once. Sorry\, No Pictures offers a beautiful\, oftentimes laugh-out-loud funny\, and ultimately hopeful narrative that art-making\, by its nature\, involves failure\, change\, and transcendence. \nPublished in book format in 2021\, the exhibition Sorry\, No Pictures brings the impact of scale\, presence\, and additional context to Gould’s artwork. You can read more about each piece in the copies of Sorry\, No Pictures available in the gallery. \n\nAbout the artist:  \nMeggan Gould (meggangould.net) is a photographer living and working outside of Albuquerque\, New Mexico\, where she is an Associate Professor of Art at the University of New Mexico. Her multifaceted practice uses photography\, drawing\, sculpture\, and installation in an open ended dissection of vision and photographic tools. \n\nTube Factory artspace \nJeremy D Efroymson Gallery \nVISIT US\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays \nBig Car Collaborative brings art to people and people to art\, sparking creativity in lives to support communities. As an artist-run nonprofit organization\, we utilize tools of culture and creativity to build community and social cohesion — connecting people as a way to boost quality of life. We support our community by supporting artists. \nMuch of our work happens on a single block where we own or co-own more than 20 properties — including a long-term affordable housing program for artists and Tube Factory — a contemporary art museum with a cafe\, studios\, and community space. At our campus of adaptive reuse buildings and public greenspace\, we host community and cultural programs to promote social connectivity\, cooperation\, and creativity. \nWe also facilitate people-focused placemaking and place keeping projects across the city and beyond through Spark. Tune in to our experimental\, community-focused radio station\, WQRT 99.1 FM — also streaming at wqrt.org.
URL:https://www.bigcar.org/event/meggan-gould-sorry-no-pictures/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20240105T080000
DTEND;TZID=America/Indiana/Indianapolis:20240324T150000
DTSTAMP:20260611T000532
CREATED:20231207T173614Z
LAST-MODIFIED:20231207T173621Z
UID:11569-1704441600-1711292400@www.bigcar.org
SUMMARY:Julian Jamaal Jones: Take Me Back
DESCRIPTION:The abstract textiles and works on paper by Julian Jamaal Jones for his exhibit Take Me Back glean fragments from the songs\, poetry\, sounds\, and his feelings for the Black church experience of the 1990s.  The exhibit opens Jan. 5 and runs through March 24 at Tube Factory artspace. Chief curator\, Shauta Marsh\, was instantly drawn to the works\, seeing an element of emotive storytelling in the abstract pieces — something that is quite unique.  \nJones studied photography at Herron School of Art and Design then moved to working in textiles while working on his MFA at Cranbrook “His works are reverent. And\, although Jones is tapping into a personal experience to create the works\, the understanding and appeal of the works is universal. The desire for belonging and finding it through shared myth. The works speak to us all\,” says Marsh. \nMarsh felt it was important to have the voice of a curator who witnessed the change of mediums and the change in the artist. So Marsh and Jones asked Kat Gotfnett\, Assistant Curator of Collections at Cranbrook Art Museum\, to write about his work and what she sees in it and him. Cranbrook Art Museum recently purchased his work. \nFrom Kat Gotfnett: “Home” often exists not as a structure but in spaces of community steeped in mutual reverence and a sense of belonging. In Take Me Back\,  Jones harnesses his nostalgia for one such place – the Black church of his youth. Growing up in the outskirts of Indianapolis during the 1990s\, Jones navigated predominantly White spaces\, making the church a sanctuary for him to engage with and celebrate both his religion and his Blackness.  The church of Jones’s youth provided an atmosphere for creative inspiration and self-determination rooted in community\, spirituality\, and strong sensory experiences. In his first hometown exhibition\, Jones channels his personal memories and nostalgic pangs into a new body of work that honors “the old Black church.” \nIn Jones’s quilts\, he reimagines the traditional art form through the artist’s unique verbiage\, drawing on improvisational styles of Black expression found in gospel music\, as well as expressive abstract art. Gestural graphic drawings\, which are foundational to his textiles\, incorporate jewel tones and bold\, animated markings. These drawings physicalize Jones’s emotional landscape as he recalls the spirit of the Black church\, its fashionable congregants\, dressed up for worship\, and the Gospel choir’s coordinated robes and soulful\, revelatory harmonies. These energetic renderings serve as an intimate yet abstracted record of the artist’s embodied experience with transformative spiritual and cultural forces. \nJones’s invigorating textiles further tap into the multisensory experience of church\, introducing a more explicitly tactile element that also alludes to fiber as a medium connected to the body as a material of comfort and identity. Additionally\, many of Jones’s quilts are created at an immersive scale recalling the grandiosity of religious architecture\, the textiles adorning sacred spaces\, and mesmerizing walls of stained glass. The work is partnered with pews sourced directly from a church\, furthering the aesthetic church experience to bring viewers fully into fellowship with Jones through this reimagined sanctuary. \nThrough abstractly reconstructing a bygone spiritual moment through ancestral modes of expression\, allusions to a sacred space\, and celebration of Black culture\, Take Me Back expresses the artist’s longing for not only a space\, but a profound feeling.” \n\nAbout the artist: Julian Jamaal Jones is a multidisciplinary artist and educator born and raised in Indianapolis\, IN. Jones received his Bachelor’s degree in Photography in 2020 from the Herron School of Art + Design (Indianapolis) and a Master’s in Photography in 2022 from Cranbrook Academy of Art (Bloomfield Hills\, MI)\, under the tutelage of Chris Fraser. Jones was the recipient of the 2023 CICF Artist Ambassadors Travel Grant\, awarded ArtsConnect’s “Artist to Watch” in 2022\, the recipient of the 2022 Playground Emerging Artist Fellowship\, supported by the Knight Foundation and the recipient of the prestigious Museum Purchase Award from Cranbrook Art Museum in 2022.  Jones’s works are in the permanent textile collections of Cranbrook Art Museum (Bloomfield Hills\, MI)\, Richmond Art Museum (Richmond\, IN) and The Book Tower Detroit (Detroit\, MI).  \n\nPhoto :Untitled\, 2023\, Photo collage from Julian Jamaal Jones’s personal collection \n\nKey Dates \nOpening reception: Jan. 5\, 6-10 p.m. \nArtist talk with Julian Jamaal Jones and Kat Gotfnett\, Assistant Curator of Collections\, Cranbrook Museum: March 23\, 1pm \nClosing reception: March 24\, 5 p.m.  \nThis exhibition was made possible by the Andy Warhol Foundation for the Visual Arts\, Ruth Arts Foundation\, Herron School of Art and Design\, Arts Council of Indianapolis and the City of Indianapolis\, Allen Whitehill Clowes Charitable Foundation\, Efroymson Family Fund and the Institute of Museum and Library Sciences.
URL:https://www.bigcar.org/event/julian-jamaal-jones-take-me-back-2/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/12/takemebacksm.jpeg
END:VEVENT
END:VCALENDAR